(Un)settlement: Political Parody and the Northern Irish Peace Process

This essay examines Tim Loane’s political comedies, Caught Red-Handed and To Be Sure, and their critique of the Northern Irish peace process. As “parodies of esteem”, both plays challenge the ultimate electoral victors of the peace process (the Democratic Unionist Party and Sinn Féin) as well as critiquing the cant, chicanery and cynicism that have characterised their political rhetoric and the peace process as a whole. This essay argues that Loane’s transformation of these comedic pantomime horses into Trojan ones loaded with a ruthless polemical critique of our ruling political elites is all the more important in the context of a self-censoring media that has stifled dissent and debate by protecting the peace process from inconvenient truths. From these close and contextual readings of Loane’s plays, wider issues relating to the political efficacy of comedy and its canonical relegation below ‘higher forms’ in Irish theatre historiography will also be considered.

“A Labour Leader in a Frothy Scoundrel”: Farce and Social Justice in the Popular Dramaturgy of George Shiels

In the financially precarious period which followed the partition of Ireland (1922) the Northern Irish playwright George Shiels kept The Abbey Theatre, Dublin, open for business with a series of ‘box-office’ successes. Literary Dublin was not so appreciative of his work as the Abbey audiences dubbing his popular dramaturgy mere ‘kitchen comedy’. However, recent analysts of Irish theatre are beginning to recognise that Shiels used popular theatre methods to illuminate and interrogate instances of social injustice both north and south of the Irish border. In doing so, such commentators have set up a hierarchy between the playwright’s early ‘inferior’ comedies and his later ‘superior’ works of Irish Realism. This article rejects this binary by suggesting that in this early work Shiels’s intent is equally socially critical and that in the plays Paul Twyning, Professor Tim and The Retrievers he is actively engaging with the farcical tradition in order to expose the marginalisation of the landless classes in Ireland in the post-colonial jurisdictions.